Re: music listening styles ("Rachel M. Theodore" )

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Dear All ---
I share Professor Repp's concern that personal anecdotes will interfere with
the empirical basis of the original query - so I will follow my anecdote
with a potential framework in which to quantify emotional experience during
musical listening.
As a classical pianist, I too find it quite difficult to engage in cognitive
tasks when music is in the environment. Most notably, I have difficulty
with language tasks including writing - but also talking and listening (a
problem indeed when music is played at departmental functions). I've often
wondered if this interference stems from the fact that my formal training as
a pianist began at the same time I began formal training in reading - around
the age of 5 years. I wish I could remember how I was able to separate
learning a label such as "b" and knowing that it was a symbol not only for a
pitch but also a character in the alphabet. I wonder if the perceptual
phenomena experienced by early bilinguals would hold if the bilingual in
question was fluent in spoken language and in music.
In returning to the original post - I think that Larry Barsalou at Emory
University is doing some neat work on situated conceptualization - his
framework might provide a basis for exploring the experience of emotion
during the perception of music. If conceptual knowledge is grounded in the
brain's modal systems for perception and action, then we should be able to
observe activity across emotion centers and auditory perception centers when
listening to music "emotionally".
Thank you ---
R
--
_____________________________
Rachel M. Theodore
NIH Ruth L. Kirschstein Predoctoral Fellow
Psychology Department - 125 NI
Northeastern University
360 Huntington Ave.
Boston, MA 02115
617.373.5551 (phone)
617.373.8714 (fax)
http://web.mac.com/r.theodore
_____________________________
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Dear All ---<div><br></div><div>I share Professor Repp&#39;s concern that personal anecdotes will interfere with the empirical basis of the original query - so I will follow my anecdote with a potential framework in which to quantify emotional experience during musical listening.</div>
<div><br></div><div>As a classical pianist, I too find it quite difficult to engage in cognitive tasks when music is in the environment. &nbsp;Most notably, I have difficulty with language tasks including writing - but also talking and listening (a problem indeed when music is played at departmental functions). &nbsp;I&#39;ve often wondered if this interference stems from the fact that my formal training as a pianist began at the same time I began formal training in reading - around the age of 5 years. &nbsp;I wish I could remember how I was able to separate learning a label such as &quot;b&quot; and knowing that it was a symbol not only for a pitch but also a character in the alphabet. &nbsp;I wonder if the perceptual phenomena experienced by early bilinguals would hold if the bilingual in question was fluent in spoken language and in music.</div>
<div><br></div><div>In returning to the original post - I think that Larry Barsalou at Emory University is doing some neat work on situated conceptualization - his framework might provide a basis for exploring the experience of emotion during the perception of music. &nbsp;If conceptual knowledge is grounded in the brain&#39;s modal systems for perception and action, then we should be able to observe activity across emotion centers and auditory perception centers when listening to music &quot;emotionally&quot;. &nbsp;</div>
<div><br></div><div>Thank you ---</div><div><br></div><div>R</div><div><div class="gmail_quote"><br>
</div>-- <br>_____________________________<br><br>Rachel M. Theodore<br>NIH Ruth L. Kirschstein Predoctoral Fellow<br>Psychology Department - 125 NI<br>Northeastern University<br>
360 Huntington Ave.<br>Boston, MA 02115<br><br>617.373.5551 (phone)<br>617.373.8714 (fax)<br><br><a href="http://web.mac.com/r.theodore" target="_blank">http://web.mac.com/r.theodore</a><br>_____________________________
</div>
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